A Quote by Lila Acheson Wallace
A painting is like a man. If you can live without it, then there isn't much point in having it.
Related Quotes
We may live without poetry, music and art; We may live without conscience, and live without heart; We may live without friends; we may live without books; But civilized man cannot live without cooks. . . . He may live without books,-what is knowledge but grieving? He may live without hope,-what is hope but deceiving? He may live without love,-what is passion but pining? But where is the man that can live without dining?
I very much write from characters. Those people start speaking, and then I have them in the house with me and I live with them. Then at some point, it's time to get them out of the house. You can only live with someone like Dr. Georgeous Teitelbaum from THE SISTERS ROSENSWEIG for so long, and then it's time for her to go. But it is very like having the company of these people and trying to craft them in some way into a story.
Sometimes you look at a painting and certain parts are so beautiful. You say, "Wow, this is fantastic," but 10 minutes later you most likely have to kill it. Every painting wants to live. You want to build and bring this type of painting to the climax. When it's at the highest point, you want more. And then if you want more, you might destroy it. So you take a chance.
The point isn't to live without any regrets. The point is to not hate ourselves for having them.
The point isn’t to live without any regrets. The point is to not hate ourselves for having them.
And do you know, do you know that mankind can live without the Englishman, it can live without Germany, it can live only too well without the Russian man, it can live without science, without bread, and it only cannot live without beauty, for then there would be nothing at all to do in the world! The whole secret is here, the whole of history is here. Science itself would not stand for a minute without beauty
Making a painting is like having sex for a month or something. Then I go through this period of elation at finishing the work. Then you drop off - you know, 'post-coital man is sad,' as the old saying goes.
The point is this: If God does not exist, then life is objectively meaningless; but man cannot live consistently and happily knowing that life is meaningless; so in order to be happy he pretends life has meaning. But this is, of course, entirely inconsistent—for without God, man and the universe are without any real significance.
I think if you talk to anybody who ever went from not having much to having enough to buy what they wanted, they're always happier. Now I get that whole '$75,000 a year is some kind of magic number,' but my experience is 'more is better, up to a point.' Then there's a point where it doesn't make any difference.
Be patient toward all that is unsolved in your heart and try to love the questions themselves, like locked rooms and like books that are now written in a very foreign tongue. Do not now seek the answers, which cannot be given you because you would not be able to live them. And the point is, to live everything. Live the questions now. Perhaps you will then gradually, without noticing it, live along some distant day into the answer.
That sculpture is more admirable than painting for the reason that it contains relief and painting does not is completely false. ... Rather, how much more admirable the painting must be considered, if having no relief at all, it appears to have as much as sculpture!
I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting.
Without God man has no reference point to define himself. 20th century philosophy manifests the chaos of man seeking to understand himself as a creature with dignity while having no reference point for that dignity.
I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting. Like finding some imaginary computer painter, or a robot who paints.
People constantly describe me as a formalist or even a minimalist, but I'm not really bothered with the rules of painting or the history of painting. My approach is that everything is mine. I take what I can use from wherever, and then I forget where I've taken it from. But there is no point me making anything that looks like anyone else's.
When you've had a chance to live some experiences then you can really write, and not having lived that much when I was young I didn't have much to write about. Now having seen life, the songs seem to come easier.
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